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Dr. Ayman Swayd explaining the Prohibited Ways in Arabic
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Prohibited Ways of Reciting
4.8 Types of Reciters in relation to Musical Maqaamaat
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Download the Word Document Click here
Arabic Video by Ayman Swayd on the Prohibited ways of Reciting Click here
Contents
1. Introduction
2. Correct Belief in the Qur’aan
2.1.
Learning Eemaan before Qur’aan
3. Beautifying the Voice
3.1Elements Involved in Reciting the Qur’aan
3.2Ten Methods of Reciting (Qiraa’aat)
3.3Is Tajweed Obligatory?
3.3.1 Obligatory Aspects of Tajweed to Preserve
Meaning
3.3.2 Recommended Aspects of Tajweed
4. Mistakes in Reciting
4.1.
Major Mistakes
4.2.
Minor Mistakes
4.3.
The Scholars’ statements about going to excesses in reciting the
Qur’aan
4.4.
Going to Excesses – Takalluf
4.5.
Maqaamaat - Musical Patterns
4.7.
14 of the Most Important Mistakes the one who recites Qur’aan Using
Musical Patterns Makes
4.8.
Types of Reciters in relation to Musical Maqaamaat
4.9.
Qiraa’ah Tafseeriyyah
5. Listening to the Qur’aan and Learning Qur’aan
5.1.
Occasions for Reciting the Qur’aan
5.2.
Media and their Role in Spreading Recitations
5.3.
Standard Recitation and Taraaweeh Recitation
5.4.
The Difference between Murattal and Mujawwad Recordings
5.5.
Listening to the Recitation of the People of Innovation
5.6.
What is the Ruling on Imitating the voice of a Reciter?
5.7.
Shaykh Al Albaanee’s Advice regarding Reciters
5.8.
Learning from a Qualified Qur’aan Teacher
5.9.
Recommended reciters
5.10.
Names of Famous Reciters and their Nationalities
6. Practical Innovations (bid’ah) regarding
Reciting the Qur’aan
7. Conclusion
8. Sources
See the full contents at the end of this page......
Source for the Powerpoint
Dr. Ayman Swayd explaining the Prohibited Ways in Arabic
See his video click here
‘At Tajweed Al Muyasar’
(Simplified Tajweed)
Supervised by Dr.
Alee Al Hudhayfee.
King Fahd Qur’aan
Printing Complex. 2012
Selected
Passages Translated into English
by Umm ‘Abdir Rahmaan Tara Hashim. 1437/2016
Tajweed Definition (p14)
Linguistic meaning of ‘tajweed’: The root of the Arabic word
is ‘jawwada’ meaning to beautify. So tajweed means to beautify and perfect.
Technical meaning of ‘tajweed’: Articulating each letter of
the Qur’aan from its correct place of origins (in the mouth) along with giving
the letters their original characteristics and their derived ones.
Makhraj: The place where the letter originates and is
distinguished from others
Harf: Letter – a sound that relies on a place of origin.
Haq al Harf – Original Characteristics (صفات
اللازمة)
Mustahaq al Harf – Derived Characteristics (الصفات العرضية). Characteristics that come from the
original characteristics such as fatness – tafkheem coming from raising the back
of the tongue – isti’laa. Thinness – tarqeeq coming from lowering the back of
the tongue – istifaal; or temporary characteristics which occur in certain
circumstances such as the situations regarding the letter ‘raa’ where it is
sometimes fat and sometimes thin.
The Ruling of Tajweed (p15)
1.
Theory (Rules of Tajweed) – fard kifaayah –
communal obligation
2.
Practical (oral performance
of tajweed) – fard ‘ayn –
individual obligation upon every reader according to their ability.
Mistakes (p20)
Lahn Linguistic
meaning – a mistake
Technical
meaning – deviating from the correct way of reading the Qur’aan
Major mistake:
A mistake made to a word which changes the structure of the
word clearly. (This type of mistake) can be spotted by a tajweed specialist and
by the common lay person. This is a major mistake whether it changes the
meaning or not. For example,
1.
Changing a letter for
another letter ط
into ت طبع (sealed
over) تبع (were followed)
2.
Changing a vowel into
another vowel
أنعمتَ into أنعمتُ ‘tu’ instead of ‘ta’.
For example, Surah al Faatihah aayah 7: This
changes the meaning completely from ‘The path of those upon whom You have
bestowed favour’ to ‘The path of those upon whom ‘I’ have bestowed favour’. The
second sentence is wrong!!
3.
Changing a grammatical
ending (‘iraab) [Surah Hood 11:45]
ونادى نوحٌ ربَه (correct) Nooh called
upon his Lord.
ونادى نوحَا ربُه (incorrect) His Lord
called upon Nooh.
Minor Mistakes
A mistake made in perfecting the pronounciation and not to
do with correct pronounciation.
This minor mistake is only noticed by tajweed specialists
and not by the common lay person. For example,
1.
Incorrect lengthening of
the mudood (lengthened letters)
2.
Ghunnah (nazalization)
3.
Idhgaam (merging)
4.
Ikhfaa (concealing)
5.
Rules of laam and raa
whether fat or thin etc…
Ruling of Major Mistakes – haraam – prohibited
Ruling of Minor Mistakes – difference of opinion however, a
person who is not able to protect himself from falling into minor mistakes is
forgiven.
A Warning
against Innovations (and mistakes) in Recitation (p155-159)
It is agreed by the recitation specialists and the Imaams of
Recitation that the recitation of the Noble Qur’aan is performed in a specific
way which the reciter must legally and Islamically follow. This is to attain the
reward that Allaah promises the reciters who fear Allaah in their recitation.
This ‘way’ is manifest in the tajweed ‘perfecting and
beautifying’ the words of the Qur’aan and upholding its letters and beautifying
its performance. It is carried out by giving each letter its right regarding its
original and derived characteristics of perfection, beauty and tarteel (slow
and measured recitation). This is only achieved by articulating each letter
from its place of origin along with the known characteristics. This should be
accompanied by ease and simpleness and not going to excesses. This is what is
obligatory upon a Muslim to do regarding the recitation of his Lord’s Book and
he must not turn away from this as much as he is able to.
There is no doubt that this (type) of recitation fills the
heart with peace and tranquillity and it opens up the path to guidance for the
one reciting and the one listening to it. This way of recitation is how the
Noble Qur’aan was revealed and how Allaah ordered His Noble Messenger to recite
in the following aayah:
أَوْ زِدْ عَلَيْهِ وَرَتِّلِ الْقُرْآنَ
تَرْتِيلًا
Or add to it, and
recite the Qur'an with measured recitation.
Muzzamil [73:4]
This is how the Prophet صلى الله عليه وسلم
used to recite: each word clearly and each letter clearly.
However, that being said, some people who recite Qur’aan have
introduced innovations that are not allowed. They either go to extremes and
beyond the original limits or they fall short and they do this to attract the
people to listen to them.
Examples of this are:
1.
Going to extremes in
concealing letters (ikhfaa) so much so that it resemebles lengthening them
(mudood).
(Translator added example: كنتم – كونتم )
2.
Making Tanween or noon
saakinah occurring before ikhfaa letters as idhaar.
3.
Rounding the lips when
pronouncing fat letters that carry the ‘a’ vowel going to extremes in emphasis.
4.
Pronouncing thin letters
with imaalah (pronouncing the ‘a’ vowel leaning towards the ‘ya’ vowel).
5.
Allowing an adjoining
letter to influence the strong or weak characteristics of other letters.
(Translator’s examples:
خلق the laam is a thin
letter but when it comes in the middle of two fat letters then some people mistakenly make the laam fat
too.
بعض The ‘ba’ is a thin
letter but when people pronounce this word they mistakenly make it fat due to
the ض which is fat.
The ‘fat’ letters (tafkheem) are خص ضغط قظ (خ ص ض غ ط ق ظ)
6.
Going beyond the given
limits of lengthening (mudood). The mudood have a fixed limit that you stop at
beyond which it is not permissible to lengthen. The Schools of Thought of the
Reciters on this topic are known and recorded.
(Translator’s examples: صراط The alif here is a
normal 2 length count when continuing the recitation (and not stopping on it). It
cannot be lengthened beyond that according to whim to 4 or 5 counts.
7.
Producing an extra letter
before noon saakinah نْ due to going to excesses in ikhfaa or with noon and meem
mushaddahatayn نّ
مّ .
‘kasra’ turned into a long vowel ‘ya’ : إن ---- إين
Dammah turned into a long vowel ‘waw’ : كنتم ----كونتم
These are mistakes in recitation that must
be avoided because they are mistakes which could change the meaning.
Other examples: إمّ --- إيمّ
إنّ ---- إينّ
8.
a. Reducing a doubled
letter into a single one
الحجّ = الحجْجَ --- الحجَ = الحج [Surah al Baqarah
2:196]
b. Doubling a letter that should be single
especially if the letter is stopped on.
بعادْ ---بعادّ (بعادْدٍ) [Surah Al Fajr :6]
9.
Lengthening letters where
there is no madd
ملك يووووم الدين [1:4]
غييييير [1:7]
These ‘waw’ and ‘ya’ letters are ‘leen’
letters (َي َو) and not madd letters
(ِي ُو) so they are not
lengthened in continuous reading , only when they are stopped on.
10.
Going to excesses in
pronouncing the hamzah so the sound resembles someone vomiting.
11.
Not completing and
perfecting the vowel sounds. This leads to a deficient vowel which in turn
leads to a deficient letter.
The ‘u’ vowel (dammah) is not complete
unless you round your lips. If you do not round your lips the ‘u’ vowel (dammah)
is deficient and therefore your letter is deficient.
The ‘i’ vowel (kasrah) is not complete
unless you lower your chin. If you do not do this then it is deficient.
The ‘a’ vowel (fathah) is not complete
unless you open your mouth. If not then it is deficient.
Due to this, it is necessary to pronounce the
vowels on the letters properly so that it does not reduce the letter due to the
reduction of its vowel.
Shaykh Muhammad Makee Nasr al Jaraysee, the
author of ‘The Final Beneficial Speech on the Science of Tajweed’ نهاية القول المفيد في علم التجويد) )
p6-7 comments: “This means that the letters are reduced by the reduction of
their vowels. In this case it is worse than a major mistake because the
reduction of the body of the letter is worse than leaving the characteristics
of the letter (الصفات)” [1]
12.
Not pronouncing the first
letter you start with or the last letter you stop on clearly, so that you
cannot hear them and they disappear.
13.
The Bid’ah of Tahreef (تحريف) Gathering together and reciting in one
voice. Reciters take turns and stop and allow others to continue for a few
words then swap. They focus on the vocal aspects and do not see that they are
losing good deeds and falling short in respecting the Speech of Al Jabbaar, the
Compeller. All of this is forbidden haraam and we must not accept it. We must
refute and criticise the one that does it.
14.
Tar’eed (ترعيد)
Making your voice shake as if you are cold or in pain. It may also be
accompanied by musical patterns.
15.
Tatreeb (تطريب)
To recite Qur’aan with a tune, lengthening what should not be lengthened, or
going beyond the set limits of lengthening just to fit into the tune. So the
reciter introduces something not found in the rules.
These are some of the mistakes many people fall into when
reciting which are in opposition to the real rules of tajweed.
The recitation of the Qur’aan cannot be perfected unless a
person learns directly from the recognized skilled shuyookh.
Every reciter should aim to preserve the Book of Allaah
putting into practise the Speech of Allaah, the Exalted:
إِنَّا نَحْنُ نَزَّلْنَا الذِّكْرَ وَإِنَّا
لَهُ لَحَافِظُونَ
Indeed, it is We who sent down the Qur'an
and indeed, We will be its guardian. [al Hijr :9]
[1] Translator
Note: In the Qur’aan schools in Saudi today not completing or perfecting the
vowel sounds is considered a minor mistake only unless the vowel is not clear
and changes from one vowel to another. Allaah Knows best.
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Prohibited Ways of Reciting
Contents
1. Introduction
2. Correct Belief in the Qur’aan
2.1.
Learning Eemaan before Qur’aan
3. Beautifying the Voice
3.1.
Elements involved in Reciting
the Qur’aan
3.2.
Ten Methods of Reciting
(Qiraa’aat)
3.3.
Is Tajweed Obligatory?
3.3.1. Obligatory Aspects of Tajweed to Preserve
the Meaning
3.3.2. Recommended Aspects of Tajweed
4. Mistakes in Reciting
4.1.
Major Mistakes
4.2.
Minor Mistakes
4.3.
The Scholars’ statements about
going to excesses in reciting the Qur’aan
4.4.
Going to Excesses – Takalluf
4.5.
Maqaamaat – Musical Patterns
4.6.
The 8 Prohibited Ways of
Reciting the Qur’aan taken from an Nashr by Ibnul Jazaree
4.7.
The 14 Most Important Mistakes
the one who recites Qur’aan Using Musical Patterns Makes
4.8.
Types of Reciters in relation to
Musical Maqaamaat
4.9.
Qiraa’ah Tafseeriyyah
5. Listening to the Qur’aan and Learning
Qur’aan
5.1.
Occasions for Reciting the
Qur’aan
5.2.
Media and their Role in
Spreading Recitations
5.3.
Standard Recitation and
Taraaweeh Recitation
5.4.
The difference between Murattal
and Mujawwad Recordings
5.5.
Listening to the Recitation of the People of Innovation
5.6.
What is the Ruling on imitating
the voice of a Reciter?
5.7.
Shaykh Al Albaanee’s Advice
regarding Reciters
5.8.
Learning from a Qualified
Qur’aan Teacher
5.9.
Recommended reciters
5.10.
Names of Famous Reciters and their Nationalities
6. Practical Innovations (bid’ah) regarding
Reciting the Qur’aan
7. Sources
بسم الله الرحمن
الرحيم
1. Introduction
Reciting the Qur’aan is an act of worship. Any act of worship has to be
done according to two conditions: 1. Sincerity of Intention for Allaah (al
Ikhlaas) and 2. Following the Sunnah (without innovating). Therefore reciting
the Qur’aan should be learned from someone qualified in reciting without
inventing new ways or innovating. The Qur’aan was recited from teacher to
student throughout the ages right up to our time today. Firstly, the Qur’aan is
the uncreated Speech of Allaah that He spoke to the angel Jibreel. Then the
angel Jibreel orally passed on what he heard to the Prophet Muhammad صلى الله عليه وسلم . The Prophet صلى الله عليه
وسلم orally passed on the Qur’aan to his
Companions and also asked certain literate Companions to write it down as it
was revealed. So the Qur’aan was passed on orally and in writing. The way that
it was recited was also passed on and has chains of narrations that go back to
the Prophet صلى الله عليه وسلم . There were people who tried to
innovate ways of reciting like the Sufis but the scholars of the past such as
Imaam Ahmad warned against them. They introduced reciting the Qur’aan like a
song and musical patterns. Tajweed scholars also criticized these innovations
and we have that as a guide to avoid falling into the same mistakes.
2. Correct
Belief Regarding the Qur’aan
The Qur’aan is the Speech of Allaah, uncreated.
It is an attribute of Allaah.
Some Deviant Sects believe that the Qur’aan is created and deny
Allaah’s Attribute of Speech.
Imam Ahmad bin Hanbal was tortured due to this issue of the Qur’aan
being ‘uncreated’.
Some deviant/ ignorant people say “My recitation of the Qur’aan is
created/uncreated” This is very inaccurate and a potentially dangerous
statement.
Ibn Abee Daawood mentions in his poem ‘Haa’iyyah
“And do not say that the Quran is created, meaning: its recitation,
since the Speech of Allaah, through its recitation, is made clear.”
Ahlus Sunnah Say
الصوت صوت القاري و
الكلام كلام الباري
“The voice is the voice of the reciter and
the speech is the Speech of the Originator (Al Baaree is one of the names of
Allaah).”
Meaning: That which is being recited is the Speech of Allaah, as for
the recitation and the action (of recitation), then it is the speech of the
creation, his voice is created and his pronunciation is created….. Those who
recite the Qur’aan differ (from each other), some of them have been given
beautiful voices whilst others have not been given that, but as for the Speech
of Allah – Majestic and Most High – then of course it is of the highest
perfection.
(Shaykh Fawzan’s explanation of the Haa’iyyah Poem by Ibn Abee Daawood)
2.1 Learning
Eemaan Before Qur’aan
Jundub ibn 'Abdullaah (radiallaahu 'anhu) said:
"We were with the Prophet - sallallaahu 'alayhi wa sallam - while
we were young boys, and we learned Eemaan before we learned the Qur`aan, and
then we learned the Qur`aan and it increased us in Eemaan.“
[Ibn Majah, authenticated by
Al-Albaanee; rahimahumullaah]
'Abdullaah Ibn 'Umar (radiallaahu 'anhummaa) said:
"We lived during an instant of time in which one of us would
receive Eemaan first before receiving the Qur`aan and, when the verses were
revealed, we would learn what they permitted and what they prohibited and what
they forbade and what they ordered and what stance one should have towards
them. But I have seen many men from whom one is given the Qur`aan before Eemaan
and he reads it from the opening of the Book to its closing and he does not
know what it orders and what it forbids and what stance one should have towards
it. He is like someone who is just throwing out dates [i.e. he does not get any
benefit from his recital]." [Al Bayhaqee and Al Haakim who authenticated
it; rahimahumullaah]
Shaikh Saalih Ibn Fawzaan al-Fawzaan (hafidhahullaah) said
The Prophet (sallallaahu 'alaihi wa sallam) said: Recite the Qur`aan
before there comes a people who will straighten its letters just as an arrow is
made straight; it [the Qur`aan] will not go beyond their collarbones. They will
seek to bring its reward forward, and will not wait for its reward (in the
Hereafter). [Saheehah 259]
“This hadeeth tells us that what is intended is not merely recitation
of the Qur`aan; rather what is intended is recitation in order to act upon the
Qur`aan. So the recitation is a means, and the goal is to act upon the Noble
Qur`aan. The reward is therefore for the person who recites the Qur`aan and
then acts upon it.”
3. Beautifying
the voice
“Allaah does not listen to anyone as He listens to a Prophet enhancing
his voice with Qur’aan and reciting it beautifully.” (Abu Hurayrah, Bukhaaree
and Muslim).
“Whoever does not beautify his voice when reciting the Qur’aan is not
of us.” (Sa’d bin Abee Waqqaas, Abu Dawood).
Al Baraa’a bin Aazib رضي الله عنه said that the Prophet صلى الله عليه وسلم said, “Beautify the Qur’aan with your
voices.”
‘Aaishaرضي الله عنها said that the Prophet صلى الله عليه وسلم said, “One who is proficient in the Qur'an is
associated with the noble, upright, recording angels; and he who falters in it,
and finds it difficult for him, will have a double reward”.
In another hadeeth the Prophet صلى الله عليه وسلم used to recite with madd (lengthening the
vowels). Mu’aawiyyah heard the Prophet صلى الله عليه وسلم reciting whilst on his riding animal the year
of the Conquest and he was saying ‘aaa’ meaning that whilst he was reciting he
lengthened the long vowel. So they said that it is possible the Prophet صلى الله عليه وسلم lengthened the vowels (intentionally) or it is
possible that it was due to the movement of the camel.
3.1 Elements
involved in Reciting the Qur’aan
Arabic language Fixed
Tajweed rules Fixed
10 Qiraa’aat Fixed
Natural Voice Presentation/intonation Not
fixed * (Personal inherent unlearned
style)
* This last element is where people justify the use of musical patterns
(maqaamaat) to beautify the voice which is wrong.
3.2 The 10
Methods of Reciting (al Qiraa’aat):
The Names of the Famous Reciters (al Qurraa’)
1. Naafi’ (70-169AH) Imaam
Maalik used to recite with this Qiraa’ah and it was adopted by the people of
Madeenah.
2. Ibn Katheer (45-120 AH)
Imaam Shaafi’ee used to recite this Qiraa’ah and it was adopted by the people
of Makkah.
3. Aboo ‘Amr (68-154 AH)
4. Ibn ‘Aamir (8-118AH) It
was adopted by the people of Syria.
5. ‘Aasim * (80-127
AH) Imaam Abu Haneefa used to recite this Qiraa’ah and it was 2nd
choice for Imaam Ahmad.
6. Hamzah (80-156AH) His
qiraa’ah was criticized by Imaam Ahmad.
7. Al Kisaa’ee (119-189AH)
8. Aboo Ja’far (d. 130) He
was the teacher of Imaam Naafi’ number 1 above.
9. Ya’qoob (d. 205AH)
10. Khalaf (150-229AH)
3.3 Is
Tajweed Obligatory?
Is the one who does not read Qur’aan with tajweed sinful?
Shaykh bin Baz, Shaykh al ‘Uthaymeen, Shaykh Fawzaan – tajweed is not
obligatory but pronouncing the letters correctly is, according to the rules of
the Arabic language which are the makhaarij (and this is part of learning
tajweed).
Shaykh al Albaanee – highly recommended learning tajweed.
Shaykh Muqbil – tajweed not obligatory but recommended.
Dr. Ayman Swayd – not obligatory unless studying for an ijaza. However,
learning the correct makhaarij is obligatory if it changes the meanings.
Shaykh Fawzaan - Tajweed
“As for tajweed which is: Lengthening (vowels) and merging and what is
similar to that from the rules of tajweed, then this is from beautifying and
improving the recitation and pronunciation. It is not obligatory. It is only
recommended (mustahabb), without exaggerations and without intensifications in
the rulings of tajweed….Whoever learns them (the rules of tajweed) and
pronounces them, then that is good. And whoever is ignorant of them, then there
is no harm upon him with the condition that he recites the Quran without
grammatical errors, not making marfoo’ what should be mansoob, or making
mansoob what should be marfoo’, or making majroor what should be mansoob, or
other than that”. (Sharh Lum’atul I’tiqaad)
Shaykh al Albaanee - Tajweed
“Some of these tajweed rules, as is not hidden from you, are
compulsory. Someone who does not follow them and leaves them is sinful. Some
rules are from the Sunnah whereby if a person follows them they are rewarded
and if he leaves them he is not punished. Some of these rules are an innovation
(bid’ah) and opposite to the Sunnah.”
“I believe that the rules of recitation, the tajweed rules are learned
from teacher to student orally (talaqqee). Tajweed rules are not taken directly
from books like fiqh rulings can be when there is no shaykh well-grounded in
the Book and the Sunnah to learn from.” (Silsilah al huda wan noor tape 372-3)
Shaykh al Albaanee’s Advice to the Youth
“We advise the youth to learn tajweed not to boast or be proud but to
know how to read the Qur’aan well as it was sent down from Allaah, the Mighty
and Majestic through the angel Jibreel to the Prophet صلى الله عليه وسلم and how Jibreel taught it directly and
presented it the Prophet صلى الله عليه وسلم more than once which is found in the saheeh.
Secondly, they should not use their knowledge of tajweed to criticise the
scholars whose circumstances did not permit them to learn the recitation like
they had learned it with ease. They criticise and mock these scholars for not
reciting the Qur’aan well like they can recite but indeed, it may have been due
to them that they had the chance to learn tajweed in the first place.”
Shaykh Muqbil - Tajweed
“So going to excesses in tajweed is blameworthy and on the other hand
not paying any attention to it is also negligence. A person should go and learn
from someone who is skilled in tajweed and benefit from him. As for believing
that it is obligatory then no.”
“We should be eager to recite like the Prophet صلى الله عليه وسلم , the
Companions and the Salaf. There is an enormous difference between a person who
mumbles the recitation of the Qur’aan and the one who recites it clearly and
beautifully. You are affected by the Qur’aan that is recited beautifully.”
Dr. Ayman Swayd
The makhaarij of the letters is obligatory upon you to pronounce
correctly as any mistake in the makhraj of the letter changes the meaning
(talaq with a taa instead of Taa).
The Sifaat - characteristics of the letters are divided into 3
categories:
1. If a characteristic of
a letter is changed it changes the letter completely. For example Saad into
seen. Therefore this aspect of tajweed is obligatory.
2. If a student is reading
Qur’aan to his shaykh to obtain an ijaazah. Then it is obligatory upon him to
recite with tajweed otherwise he will not be awarded his ijaazah as he does not
fulfil the conditions of it.
3. Beautifying and
improving the sifaat of the letters comes under two categories:
a. Reading
Qur’aan for oneself: If a student knows the rules well and does not read with
the rules then this is ‘ayb’ a deficiency on his part.
b. If
a common person reads without tajweed then he has left what is most complete
but he is not sinful (as long as he pronounces the letters from the correct
makhraj and the sifaat do not change the letter as in category 1 above).
3.3.1 Obligatory
Aspects of Tajweed to preserve the Meanings
1. Makhaarij and Sifaat: Pronounce letters accurately from their places of
origin with their correct characteristics
2. Shaddah letters (doubled)
3. Waqf – stop in
the right places
4. Long and short vowels (natural madd)
5. Correct harakaat
6. Hamzah al Qata’ and hamzatul wasl
3.3.2 Recommended
Aspects of Tajweed to Beautify your Recitation
1. Rules of Noon and Meem Saakinah (idhgaam,
ikhfaa, qalb, idhhaar)
2. Correctly using fat and thin letters
3. Mudood (the rest of the rules not including
the natural madd which is compulsory)
4 Mistakes
in Reciting (Lahn/alhaan)
لحن جلي
Lahn Jalee: Major mistake
لحن خفي
Lahn Khafee: Minor mistake
4.1 Major
Mistakes
When the obligatory aspects mentioned above are not practised it is
considered a major mistake.
Examples of major mistakes are:
1. The incorrect pronunciation of letters
leading to a change in meaning
2. The vowels and I’raab are incorrect
3. The long vowels are shortened
4. The short vowels are lengthened
5. Stopping in the wrong place or starting in
the wrong place
6. The shaddah is not pronounced properly
leading to one letter of the Qur’aan being missed out.
7. The Hamzah qat’ not being pronounced
properly thereby changing it to an alif or ayn.
8. The hamzatul wasl being pronounced when it
should not be pronounced thereby adding a letter.
4.2 Minor
Mistakes
These mistakes do not change the meaning or take or add anything to the
Qur’aan. Only trained teachers will be able to recognize these mistakes. The
correction of these mistakes would increase the beauty of the recitation and
this is recommended (mustahab). As mentioned previously the correction of minor
mistakes are not obligatory unless someone is studying for an ijaazah or wants
to beautify their recitation and earn the rewards of doing something mustahab.
Examples of minor mistakes are:
1. Rules of Noon and Meem Saakinah
2. Mudood
3. Fat and thin letters etc.
4. Perfecting the vowel sounds (itmaam al
harakaat)
4.3 The
Scholars’ Statements about going to Excesses in Reciting the Qur’aan
Shaykh Muqbil said that,
“Ibnul Qayyim mentioned in his book ‘Ighaathatul Lahfaan’ that some of
these reciters would repeat suratul Faatihah for a month, and that spit would
fly from their mouths whilst reciting. Why? Because he would recite according
to one of the Qiraa’aat. Anyway, this is considered something that takes you
away from reflecting upon the meanings of the Qur’aan.
This going to extremes in tajweed is one of the plots of shaytaan. He
also mentioned that some reciters would recite and it would look like they were
vomiting (due to the excessive effort to pronounce words). Their cheeks would
become inflated and their faces go red as if they were vomiting.”
(Shaykh Muqbil Fatwas 2528 & 2691)
4.4 Going to excesses Takalluf التكلف
All the following ways come under the category of 'going to excesses’.
These ways were not practised by the salaf or those that came after
them.
These ways were criticised by the scholars of the past and present.
These ways do not come under the science of tajweed.
These ways do not fall under the category of ‘beautifying’ the voice.
Maqaamaat are going to excesses.
4.5 What
are Musical Patterns? Maqaamaat
Recitation of the Qur’aan is an act of worship and a Sunnah to be
followed. It is not allowed to deviate from the way it was passed on from one
generation to another or introduce innovated ways (bid’ah).
Maqaamaat are set musical patterns which have been applied to the
Qur’aan. It was first introduced at the time of the Umayyad Dynasty from the
Persians. The scholars throughout the ages have criticized this hateful
practice. Allaah’s Speech is far removed from this evil association with music.
This practice is also referred to as alhaan.
These maqaamaat have different names such as: bayaat, hijaaz, rast,
seeka, saba, ‘ajm, nahaawand, kurd. They
represent various emotions such as happiness, sadness, longing etc.
Institutes teaching these Maqaamaat
There are even schools and institutes now where the recitation of the
Qur’aan is taught in these maqaamaat. Competitions are held to recite according
to these musical patterns. Whereby a competitor will be asked to recite one
ayah in all these different patterns. Focus is on the musical skills and not on
the meaning, fiqh or practice of the sacred Speech of Allaah.
Some people learn music and have a trained music teacher to help them
achieve the musical skills needed to recite these maqamaat for Qur’aan which is
haram! Others just imitate the recordings of other famous reciters to achieve
the same effect.
Some Qur’aan teachers hide the practice by saying they are teaching
‘presentation’ techniques. Raise your voice at this point…lower it at that one…
Imaam Ahmad made the ruling on ‘singing the Qur’aan’ Alhaan (maqaamaat)
and said it was a Bid’ah – INNOVATION.
Reciting the Qur’aan musically is an innovation (bid’ah) unless it is a
person’s natural voice such as was the case with Abu Moosaa.
Shaykh Fawzaan regarding Maqaamaat:
“Maqaamaat are the practices of the Soofees. They recite that way in
their gatherings and their recitations.”
Someone asked a question whether it was permissible to go to
neighbouring countries to learn ‘maqaamaat’ (reciting Qur’aan according to set
musical patterns).
The Shaykh replied: “It is not allowed. It is not allowed to listen to
them because they have taken the Qur’aan as songs.”
Taken from Shaykh Fawzaan’s Explanation of Zaad al Ma’aad Dars (38:30
mins and 1:04:30)
4.6 The 8
Prohibited Ways to Recite which fall under ‘going to excesses – Takalluf’
These ways are criticized by Ibnul Jazaree in his book an Nashr p214.
He said that these ways are not part of Tajweed:
قال ابن الجزري
: فَلَيْسَ التَّجْوِيدُ بِتَمْضِيغِ اللِّسَانِ، وَلَا بِتَقْعِيرِ الْفَمِ،
وَلَا بِتَعْوِيجِ الْفَكِّ، وَلَا بِتَرْعِيدِ الصَّوْتِ، وَلَا بِتَمْطِيطِ الشَّدِّ،
وَلَا بِتَقْطِيعِ الْمَدِّ، وَلَا بِتَطْنِينِ الْغُنَّاتِ، وَلَا بِحَصْرَمَةِ الرَّاءَاتِ
1. Tamdeegh
2. Taq’eer al fam
3. Ta’weej al fak
4. Tar’eed as Sawt
5. Tamteet ashadd
6. Taqtee’ al madd
7. Tatneen al ghunan
8. Hasramah al raa’aat
Who was Ibnul Jazaree?
Muhammad bin Muhammad bin Muhammad bin Alee bin Yoosuf al Jazaree ad
Dimashqee ash Shaafi’ee. (751-833 AH)
He was a scholar in many fields such as tafseer, hadeeth, fiqh, Usool,
tawheed, balaagha, Arabic language and Qiraa’aat and tajweed. He became the
Judge of Damascus in 793 AH. He wrote many books on various topics. He became
the leading authority on tajweed and the science of Qiraa’aat of his time and
up until the present day his works are taught and followed.
Although it seems that he had some of the ways of the Sufis. Allaah
Knows best.
Explanation of these Prohibited Ways
Refer to my powerpoint explaining these ways and listen to the audio
files demonstrating these mistakes. Download from www.quraanteacherresources.blogspot.com
1. Tamdeegh التمضيغ
Reciting as if you have a morsel of food in your mouth. Click here to listen.
2. Taq’eer al Fam تقعير الفم
Reciting with extra pressure at the back of the throat as if the sound
of the letter ‘ayn underlies the whole recitation. Click here to listen.
3. Ta’weej al fak تعويج الفك
Reciting with imaalah. The bottom chin in constantly lowered throughout
the recitation. Click here to listen.
4. Tar’eed الترعيد
Shaking the voice in an artificial way. Breaking up the speech. Click here to listen.
5. Tamteet التمطيط
Extending and stretching the doubled letters. (Tamteet can affect other
areas also: tamteet of letters which adds extra letters, tamteet of short
vowels which produce long vowels, tamteet of the shaddah, the ghunnah and of
whole words) Click here to listen.
6. Taqtee’ al mad تقطيع المد
Breaking up the long vowel into separate entities and changing from one
note to another. Ascending or descending a musical scale. This can produce
extra letters and therefore changes the Qur’aan. It is also called tarjee’. Click here to listen.
Eg. يااااا ايها الذين آمنوووووو
7. Tatneen al ghunan تطنين الغنن
Same method as number 6 above but this time used on the nasalized
ghunnah letters. Shaking the voice. This can produce extra letters and
therefore changes the Qur’aan. Click here to listen.
Eg. من الجننننة
والنننناس
8. Hasramah الحصرمة
Putting pressure on the letter raa’ to squash its sound. Jerking sound. Click here to listen.
4.7 The 14 Most
Important Mistakes the one who recites Qur’aan Using Musical Patterns Makes
(taken from Dr. Ayman Swayd’s Video)
Long Vowels
1. ترقيص أو ترعيد
المدود ‘Dancing’
vowels. The vowels are lengthened and are ‘sung’ ascending or descending a
scale of musical notes. E.g. يعلمون/ يعلمووووون
2. Lengthening the mudood more than the fixed
limit in the tajweed rules. Listen here. Eg. نذيرا/ نذييييراااا أفواجا /أفوااااجااا
3. Shortening the mudood less than the fixed
limit in the rules
E.g. جعلنا becomes جعلنَ
Nazalisation Ghunan
4. Dancing ghunnah
(nasalization) ascending or descending a scale of musical notes. Eg. إن/ إنننن
5. Lengthening the ghunnah more than the fixed
limit in the rules.
6. Shortening the ghunnah
less than the fixed limit in the rules.
Short Vowels
7. Lengthening the short
vowels until they become long vowels. This is very serious as it is adding
extra letters to the Qur’aan.
For example, يُكَذِّبُ becomes
يُكَذِّبُو
A category of this is tamteet : إنَّ becomes إين . The hamzah kasra ‘i’ turns into a long
vowel hamzah kasra yaa sukoon ‘ee’.
8. Shortening the vowels
(ikhtilaas).
غ
9. Lengthening two letters
with the characteristics of rhikwah and tawasut. Click here to listen. Eg. مغضوب/ غ
Softening -
Tawheen
10. توهين و تميي Softening certain letters to fit into the
musical rhythm you are following. This softening can change one letter into a
completely different one and also change the meaning.
E.g. مقتدر – مقتذر / د - ذ
Saving breath for long passages thereby changing the
characteristics of letters
11. Extra pressure on
certain letters which changes the sound. Using one big breath to complete a
long passage of the Qur’aan. Click here to listen. Eg. يخرج / خ
Changing the origin of ikhfaa
to make the voice louder
to make the voice louder
12. Producing a sound
originating from the mouth instead of the nose when doing ikhfaa’ for ق / ك in
order to be louder and reach the audience. Click here to listen.
من قبل
إن كان
Imaala: listen
basmalah. listen
Repeating phrases in different rhythms to delight the
audience
13. Repeating certain
phrases or passages many times without a valid reason in order to show off
skills of changing from one musical rhythm to another in order to delight the
audience.
Excessive Loudness
Tarab (reaching a state of sufi ecstacy)
Tarab (reaching a state of sufi ecstacy)
14. Going to excesses in
musical rhythms by raising the voice to its utmost level above the ability of
the reciter. This also leads to a state of ‘ecstasy’ of the Sufis.
This is the blameworthy going to excesses.
Imaam Ahmad said to beautify the voice without going to excesses.
4.8 Types of Reciters in relation to Musical Maqaamaat
1. A reciter who
beautifies his voice according to his natural inherent ability and follows the
Tajweed Rules (Sunnah).
2. A reciter who uses
musical maqaamaat but he follows the tajweed rules if there is a conflict
(Disliked – makrooh).
3. A reciter who uses
musical maqaamaat without raising the voice and going to excesses with the tune
and he gives preference to the tune over the rules of tajweed (prohibited –
haram).
4. A reciter who uses
musical maqaamaat and raises his voice, going to excesses with the tune and he
gives preference to the tune over the rules of tajweed (prohibited – haram).
Both Reciter and Listener is Sinful
Dr. Ayman Swayd said that the reciters in numbers three and four above
are sinful and the one who is pleased when listening to these reciters
reciting this way is also sinful.
Imaam Nawawee mentioned this in ‘At Tibyaan’ p111.
4.9 Qiraa’ah
Tafseeriyyah
Qiraa’ah tafseeriyyah is another method which is not allowed. The
reciter recites the Qur’aan as if he is an actor acting out the meaning of the
aayaat. He recites by raising and lowering the intonation for questions and
stories trying to convey meanings by his voice. Some call it ‘tasweer al
ma’na’.
The salaf did not do this.
Reciting the Qur’aan has turned into an entertainment business and has
become one of the plots of shaytaan.
5
Listening to the Qur’aan and Learning the Qur’aan
5.1 Occasions
for Reciting the Qur’aan
Prayer
Personal worship outside of prayer
Gatherings
Competitions
Deviant Gatherings – sufi mawlids, innovated celebrations etc.
Media – Radio and TV studio recordings.
5.2 Media
and their Role in Spreading Recitations throughout the World
First came radio which made the Qur’anic recitations available to
anyone with a radio. Then came cassette tapes, CDs, digital mp3s, internet etc.
This meant that people could imitate reciters from all corners of the
globe. However, if the recitation was correct this was good. But if the
recitation contained mistakes or forbidden practices then these practices were
copied and passed on. Many professional reciters were not students of knowledge
and they became ‘superstar reciters paid huge sums of money’. They were
followers of sufi practices and clear innovations which can be seen in their
photos or their interviews. Some professional reciters would study music and
even play an instrument to help them train for Qur’aan recitation! Which is
completely haram. Though some Sufis allowed it.
5.3 Standard
Recitation and Recitation of the Haram/Imaams in Taraaweeh
Schools in Saudi follow the recitation rules of Hafs ‘an ‘Aasim by way
of Tayyibatun Nashr.
This includes the lengthening of a long vowel between two words if the
second word begins with a hamzah.
However, in the masaajid the Imaams recite the long vowel as two counts
only which shortens the time needed to recite thereby making it easier upon
those praying. The name of this recitation is: Shortening the separated madd
absolutely
القراءة بقصر المنفصل مطلقا
طريق الحمامي عن الولي عن الفيل عن عمرو عن حفص …
By way of al Hamaami, from al Walee, from al Feel, from Amru, from
Hafs.
There are other rules associated to this method of recitation.
Different Methods of recitation should not be mixed together.
Due to this reason, if a student is learning the rules of recitation
in a school then he/she is advised to
listen to a reciter who follows the rules of his method of recitation. This is
so he/she can follow and imitate the reciter. If he/she listens to the taraweeh
reciters for example he/she might start shortening the madd and therefore not
be following the rules of his/her method correctly.
As for listening to the taraweeh reciters generally and benefitting
from them, then this is something very good and praiseworthy.
Example of Shortening the Madd
{وَمَا أُمِرُوا إِلَّا لِيَعْبُدُوا اللَّهَ مُخْلِصِينَ لَهُ
الدِّينَ حُنَفَاءَ وَيُقِيمُوا الصَّلَاةَ وَيُؤْتُوا الزَّكَاةَ ۚ وَذَٰلِكَ
دِينُ الْقَيِّمَةِ}
[البينة : 5]
مآ أُمِرُوا (Taraaweeh = 2 counts; standard = 4/5
counts)
أُمِرُوآ إِلَّا (Taraaweeh = 2 counts; standard = 4/5
counts)
5.4 Difference
between Murattal and Mujawwad Recordings
“The murattal style is private, quiet, and unornamented. It is
primarily for the average Muslim, who does not recite professionally and
publicly. It is instructional and devotional, and its main goal is clarity of
text.
The mujawwad style, by contrast, is only for public performance.
It is vocally virtuosic, extremely demanding and very taxing. It is
improvisatory, and as such the reciter must have absolute command of the
maqâmât. It is frequently accompanied by dramatic hand gestures and body
movements, the most common of which is for the reciter to raise both of his
hands to the sides of his face….. Mujawwad recitation is intensely musical,
from a Western standpoint, but this is not to say that members of the Muslim
community consider recitation of the Qur'an to be "music", in the
conventional Western sense.”
Definitation taken from Daniel Seriff (non Muslim Music Expert). 2001.
“In the mujawwad style of recitation, the reciter moves through
the text bit by bit, repeating phrases freely. They don’t jump forward in the
text, but often jump back. They often
insert long pauses. Traditionally, the listening context for that would be, for
example, a funeral, or before Friday prayer, or before evening prayer, often
between the maghrib (sunset) and the isha’ (evening) prayers, when there’s a
gap, between an hour and an hour and a half, suitable for reciting. People
gather around the reciter in an attitude of attentive listening, following the
text, while being influenced by the melody, including taswir al-ma`na, picturing of Koranic meaning through the
melodic line. Some listeners become highly emotionally, to the point where some
might make an analogy to musical tarab, ecstasy. They won’t call it tarab
though; but rather prefer a religious term, such as spiritual refreshment
(nashwa ruhiyya), or wajd (finding), a concept developed by the Sufis, the mystics
of Islam.”
(Quote from Michael Frishkopf non Muslim music expert).
Abdul Basit Abdus Samad
His murattal recordings are correct from the angle of tajweed and
performance.
However, his mujawwad recordings have tajweed mistakes due to following
musical patterns and his performance goes to excesses.
One example (listen to this comparison from the original powerpoint):
Listen to Surah al Israa ayah 105 murattal by Abdul Basit.
Listen to Surah al Israa ayah 105 mujawwad by Abdul Basit
The Mujawwad audio clip is almost double the length of the murattal
one.
The pitch of the mujawwad is much higher.
He inserts long pauses for extra effect.
He recites the word نذيرا wrongly according to the tajweed rules. Both
ya and alif should be the same length of 2 harakaat. He lengthens them beyond
this in keeping with the musical pattern he is following which is prohibited to
do and going to excesses. (See Ayman Swayd’s point 2 above on lengthening the
mudood over their fixed limit – slide 24)
Shaykh Muqbil said:
“The same is for overzealous stretching. Sometimes if you listen to
Abdul Basit you do not know whether he is singing or whether it is the Qur’aan.
Why? Because he overstretches the sounds (tamteet).” Fatwa 2691
Mishari Rashid al Afasy
Shaykh Ubayd al-Jaabiree was asked (8th Jumadah al-Aakhirah 1428H)
What is the ruling on listening to the remembrances of the morning and
evening (recited) in a melodious (entertaining) way, such as the cassette
distributed now in the markets of al-Mishari al-Efasi?
The Shaykh responded: Mishari al-Efasi is from those put to trial by
the way of the Mutasawwifah (Sufis). For this reason he takes the path of
anaasheeds accompanied with acting and the likes of this is not permissible to
listen to. Upon you is to (turn to) reciters from the Salafis such as Shaykh
Ali al-Hudhayfi.
5.5 Listening to the Recitation of the
People of Innovation
Question: Is it permissible to listen to the recitation cassettes of
the people of innovation?
Shaykh Muhammad bin Haadee: By Allaah, it is more befitting that that
is not done, because sometimes his heart may become attached to him, and it was
said to Ibn Seereen, “Can I recite an aayah to you?”, and he said, “No, not
even half an aayah”. Why? Because something of amazement with him might fall
into his heart, and love of his recitation, and so he loves him from this
angle, and thus he becomes a lover of the people of desires and innovations. Source : Manhaj Q and A with Shaykh
Muhammad bin Haadee
Shaykh Fawzan
Question: What's the ruling on seeking knowledge with a shaykh that
differs with Ahulus-Sunnah wal Jamaat in tawheed al-Asmaa wa Sifaat? Benefit us
and May Allaah benefit you.
Answer: Verily, choosing the teacher who is upright in his aqeedah and
knowledge is an affair that is desired. If that is not possible and you found
someone who has knowledge in fiqh (for example) or nahu (arabic grammar) and
knowledge that is not related to aqeedah, there is no objection if you study
with him in the sciences he specializes in. As for the aqeedah, do not study it
except with the people who have the correct aqeedah.
*Al-Ajweebatul mufeedah an asilaat manaahijil jadeeda, Dar Manhaj,
Cairo, Egypt, 4th Edition p. 184
Shaykh Hasan Al-Bannaa (salafi)
Question: In America we have individuals who teach Tajweedul-Qur'aan
(recitation of the Qur'aan) and Al-Lugatul-Arabiyyahy (the Arabic
language). These individuals are not
upon this blessed da'wah, Ad-Da'watus-Salafiyyah. Are we able to sit with these individuals and
learn what they are teaching.
Answer: Sitting with these individuals is allowed, if it is a dire
need, and a necessity. Learn from them,
At-Tajweed and Arabic, and nothing else.
Sit with them and leave from their sitting after you have learned these
two sciences and do not learn Al-Aqeedah (The Creed/Doctrine of Al-Islaam) or
Al-Manhajj (The correct way of adhereing to Al-Islaam and implementing
As-Sunnah). Once again as long as it is
necessary. I understand the condition of
the Muslims in America. May Allah make
it easy upon you all.
5.6 What is
the ruling on Imitating the voice of a reciter?
Shaykh Muqbil: I advise
that you do not imitate them as this could busy you so that you neglect
reflecting upon the Qur’aan. Allaah says,
{أَفَلَا يَتَدَبَّرُونَ
الْقُرْآنَ أَمْ عَلَىٰ قُلُوبٍ أَقْفَالُهَا}
Then do they not reflect upon the Qur'an,
or are there locks upon [their] hearts?
[Muhammad 47:24]
A person could busy himself in imitating the voice of so and so. What
is worse than that is that a person may imitate someone who can hold his breath
until he finishes an aayah but he cannot do it and he may go to excesses and
harm himself. Having said this, it does not reach the limit of being prohibited
but I do not advise people to imitate reciters.
5.7 Shaykh
Al Albaanee’s Advice regarding Reciters
They should choose those who are closest to the Sunnah and not those
who read the Qur’aan according to the rules of music. They raise the tone of
their voices at certain aayaat and lower it at others. They lengthen vowels
that should not be lengthened and shorten others etc. This is due to them
following musical rhythms which is not allowed and the imams of the Sunnah
forbade it. Such as Imaam Ahmad and others. He forbade the reading of Qur’aan
in a singing voice, stretching the letters, in addition to other techniques
that go against the correct recitation.
(Silsilah al Huda wan Noor Tape 373)
5.8 Learning
from a Qualified Qur’aan Teacher
Not all Arabs can teach you the correct way of reciting the Qur’aan
according to the rules. Only Arabs trained in recitation can teach you
properly.
There are 22 different Arab countries and each country has their own
dialect which is different to the original pure fusha (classical Arabic of the
Qur’aan). Their dialect strongly influences them in their recitation. For
example:
Egyptians change ق into ء, ج
into geem, ظ into د, ث into ت/س and so on.
Sudanese change ق into غ etc.
Moroccans change ذ into د etc.
Saudis change ق into ga, ض into ظ
etc.
5.9 Recommended
Reciters
In terms of Tajweed and no forbidden musicality
Hudhayfee: ‘Alee bin ‘Abdur
Rahmaan al Hudhayfee
Basfar: ‘Abdullaah
Basfar
Swayd: Ayman Swayd
Husari (murattal recordings not mujawwad)
5.10 Names of
Famous Reciters and their Nationalities (information purposes only)
Egyptian Reciters
Husari
Menshawi
Abdul Baset
Tablawi
Saudi Reciters
Ali Hudthayfee
Abdullaah Basfar
Abdul Muhsin al Qaasim
Ibraheem al Akhdar
Reciters from other countries
Dr. Ayman Swayd (Syria)
Kanakary (Syria)
Khaleefa al Tunaiji (Emirates)
6 Practical
Innovations (bid’ah) regarding Reciting the Qur’aan
Taken from a Masters’ Thesis in Arabic by Ahmad bin ‘Abdullaah bin
Muhammad Aal ‘Abdul Kareem
Each Innovation is detailed in the book with full references and
proofs:
Bid’ah:
1. Standing for the Qur’aan before reading it
2. Kissing the Qur’aan
3. Du’aa before recitation
4. Moving, swaying and shaking whilst reciting
5. Placing the hands on one or both ears
6. Reciting according to set musical patterns
(maqaamaat)
7. Going to excesses and exaggerating in
producing the letters
8. Reciting different Qiraa’aat and mixing
them in one session
9. Reciting in turns
10. Always saying ‘SadaqAllaahul ‘Adtheem’
after reciting
11. Listeners making comments such as ‘Allaahu
Akbar’ or ‘laa ilaaha illal Allaah whilst the reciter is reciting out of awe of
his skills
12. Hiring reciters to read Qur’aan and paying
them
Sources:
Books
البدع العملية المتعلقة بالقرآن الكريم “Practical Innovations Relating to the
Qur’aan”
by Ahmad bin
Abdullaah bin Muhammad Aal ‘Abdul Kareem
البيان لحكم قراءة القرآن الكريم بالألحان
Clarification on the Ruling of reciting Qur’aan
according to set Musical Patterns
by Dr. Ayman Swayd.
هدي المجيد في أحكام التجويد هدى العمروسي
Videos
المنهي عنه في
التلاوة Video by Dr. Ayman
Swayd
أهم مخالفات
قارئ القرآن بالمقامات الموسيقية Video by
Dr. Ayman Swayd
Websites Used:
www.alalbany.net
www.alfawzan.af.org.sa
www.muqbel.net/fatwa.php?fatwa_id=2528
www.muqbel.net/fatwa.php?fatwa_id=2691
www.ajurry.com/vb/showthread.php?t=17569
Original PowerPoint and These Word Outline
Notes designed by
Umm ‘Abdir Rahmaan Tara Hashim
Qualified Qur’aan and Arabic Teacher,
Salafee.
Graduate of the Qur’aan Teacher’s
Institute, Riyadh, Saudi Arabia.
1437AH/2015CE
